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[0:00] Jayke Workman: Well, let me ask you this. Have you ever played George Brandeis in a regional production of Annie? Because it's a lot harder than it looks.

[0:12] Jayke Workman: Oh my god, did you hear? Did you hear? Did you hear? Oh my god, guys. Oh my god, shut up to my god, oh my god, you guys! What's up, everybody? My name is Jayke Workman, and this is Oh My Pod, you guys, a musical theater and pop culture podcast.

[0:36] Jayke Workman: You guys, hi! How are you? What's what's the hot gas? What's the cool gems? You guys, I am back in New York City, and I am feeling silly. I just didn't realize how much I fucking missed this town. Love DC. Don't get me wrong, had an amazing time working there, but oh boy, oh boy, she's back in the city, and she's ready to party.

[1:05] Jayke Workman: You guys, I have an amazing interview for you with Queen Vicki Lewis. But before we get into that, we of course have to dive into this week's Broadway World recap, brought to you by my amazing pals at Broadwayworld.com. And you guys, I just also have to say, I am so excited for the coming weeks and months for the pod and beyond. Um I have a lot of fun things planned. Some surprises. Uh, so stay tuned for those. Watch, this is gonna be a huge letdown. Um, you're gonna love it. See you soon.

[1:38] Jayke Workman: Okay, Broadway World recap time. First, you guys, Broadway World shared some really fun um photos and videos and insight and interviews from previous cast members of A Chorus Line because it is the 50th anniversary of A Chorus Line, and naturally, in true Broadway style, um, we have to freaking celebrate it. So uh you can check out all of these amazing photos and interviews uh on Broadwayworld.com, but they shared this gorgeous um sort of like treasured memories segment um with all the people, not just performers, but musicians and uh creatives whose personal journeys are literally like baked into the musical. Um and it's so cool. A Chorus Line is so amazing. I have watched Every Little Step, the documentary about uh casting the revival, like probably a thousand times I own it, and it's everything.

So if you haven't seen that, you need to watch it. Um but yeah, I'm so excited for everyone who gets to celebrate and to you know share their little piece of the lore of being in A Chorus Line at some point in their career.

[2:52] Jayke Workman: Next, you guys, we got a rather interesting casting announcement that Andrew Barth Feldman is gonna take over the role of Oliver in Maybe Happy Ending on Broadway in September. Um, and it's kind of being met with some scrutiny. And while I, of course, uh, you know, love Andrew and think his work is brilliant, and I think that he would do beautifully in this role, I do kind of agree that um, you know, replacing a role originated by um an Asian American actor in a show that is set in South Korea, uh, doesn't necessarily look the best or feel correct. I don't know. I'm I'm on the fence because, you know, obviously, this is a made-up um story, and it's literally about robots in the future and whatever, but when you have um such an amazing opportunity to replace um an actor with another person of their same, you know, ethnic background or descent.

Uh why not use it? You know, why why not replace Darren Criss um with I don't know, someone not white. But uh that's neither here nor there. This is obviously just my opinion. Um, and I'm sure he will do wonderfully. He also is going to be playing opposite his real-life uh girlfriend, partner, Helen, which is wonderful and an awesome opportunity. But I'm just kind of like, oh man, the anyone else. It could have been, you know, any incredible person of Asian descent who um could, I don't know, make their Broadway debut or, you know, really get a chance to play a leading role for the first time. Um so yeah, I'm I'm conflicted. But what do you guys think? I wanna I want to know. So send me, send me DMs and send me emails and let's chat about this.

[4:46] Jayke Workman: Next, we got the casting announcement that one very handsome Trevor Wayne is set to take over the role of Pony Boy Curtis in The Outsiders on Broadway in September, which is so so exciting. Um congratulations, sir. I've only seen the show once. Um, and I really need to get back and see it. Obviously, Friend of the Pod, Miss Emma Pittman is still there as Cherry Valance. Um, but yeah, Brody Grant, who originated the role, is gonna play his final performance September 21st, and Trevor Wayne will take over after that. So, congratulations, Mr. Trevor. Also, we got a first look at the Outsiders National Tour cast, in which Mr. Nolan White will be playing Pony Boy. So congratulations to both of these actors.

Um, and I really I feel like this show is going to tour extremely well. I mean, maybe not in terms of design because it is extremely uh what's the word? Large. There are a lot of moving parts. There's fire, there's water, spoiler alert. Um, but I think audiences across the country are going to love it. I mean, it's a beloved novel, obviously, but you know, when you have a story about teens in Tulsa, Oklahoma, possibly traveling through Tulsa, Oklahoma, I think it's gonna hit home. So, congratulations to everyone involved in both the Broadway companies and the National Tour of The Outsiders.

[6:13] Jayke Workman: And lastly, you guys, we got a really exciting casting announcement for the revival of the Tony Award-winning musical, The 25th Annual Putnam County Spelling Bee, which is gonna be playing off Broadway. You guys, the cast is gonna be led by Philip Arroyo, Liana Ray Concepcion, Justin Cooley, and Grammy nominee, Kevin McHale of Glee fame. You guys, Kevin McHale's gonna play Barfay. Like, are you kidding? It's gonna be so good. I think that this was like the um Kennedy Center thing, uh, and they like reworked it or something. So I I really don't know that much about it, shamefully, and I need to do more research. But I am very excited about this cast, and I cannot wait to see it in New York City. And you guys, this has been the BroadwayWorld Recap.

[7:10] Jayke Workman: There. Oh, my pod. You guys. Stop. I am so excited to welcome my next guest to the show. A true star of the screen and the stage. Icon Legend Diva, darling. Miss Vicki Lewis.

[7:30] Vicki Lewis: Yeah! Thank you so much. I'm so excited to be sitting here with you at the Lex. I at the Lex, can you imagine? And by the time this airs, we'll be long out of here, so they can't stalk us.

[7:39] Vicki Lewis: That's right. They can't find it. Like anyone would start. Oh yeah. Like anyone listens to this damn podcast. Um, not that you all have listeners, just who would come to the list.

[7:47] Jayke Workman: Oh no, I'm saying it 100 listeners, not you.

[7:49] Vicki Lewis: Okay, you're allowed to say it. I don't know how many listeners you have. But thank you so much for being so happy to talk to you guys. I I've wanted to do this for so long.

[7:56] Vicki Lewis: Yeah. And also, in the midst of our craziness of rehearsals and uh, you know, then tech and previews and everything. I feel like we've barely even gotten time to hang.

[8:10] Vicki Lewis: I know we bonded like immediate. Well, first of all, I spotted you and I was like, I must be his friend. And then we were joking around, and then it just became, yeah, as you say, like 10 hours a day of just working.

[8:22] Vicki Lewis: We're not in the same scenes ever.

[8:24] Jayke Workman: Yeah, yeah.

[8:24] Vicki Lewis: We never got to see each other. So it was just like even when we were trying to like jab at each other and and giggle, we were also like having to be serious and be composed in the rehearsal.

[8:34] Jayke Workman: Exactly. We have one moment together now and I cherish it. Although I get up there too late now, I can't touch your butt.

[8:39] Vicki Lewis: You can always touch my butt.

[8:41] Jayke Workman: Okay, I'll try to touch your butt.

[8:42] Vicki Lewis: Would you please?

[8:43] Jayke Workman: Yes, yes.

[8:43] Vicki Lewis: Oh my god. Well, I'm so glad that you're here. We have so much to talk about, but I uh I always ask where you're calling in from. Uh but you're not calling in. You are live.

[8:52] Vicki Lewis: Oh, I'm live in the studio. Darling. Very live. We have been here for a long ass time. This is a long contract. Do you think they're all that long here at the Arena Stage? Or do they make ours longer because it's a new show?

[9:01] Vicki Lewis: I think it might be both. I think they try to, you know, see how long they can sell it. But the beautiful thing about Arena Stage is that they are not concerned about selling necessarily. So obviously they want ticket sales to be a thing. But because they know what it is to do a new show.

[9:21] Jayke Workman: Yeah.

[9:21] Vicki Lewis: They're kind of like, if it sells, it sells. You know, but we're gonna the work on it.

[9:26] Jayke Workman: Right.

[9:26] Vicki Lewis: Yeah. Is to work on it, which I think is so admirable for.

[9:29] Jayke Workman: I love that. I was so surprised. I've never been at a regional theater where they've done this.

[9:34] Vicki Lewis: Yeah. Well, and actually I've never worked on a new show at a regional theater.

[9:39] Jayke Workman: Yeah.

[9:39] Vicki Lewis: Yeah. Like the out of town.

[9:40] Jayke Workman: Yeah, exactly.

[9:41] Vicki Lewis: Totally. You're like, I've never uh I just go straight to Broadway. I don't know.

[9:44] Jayke Workman: Yeah, right. That's exactly what I do.

[9:48] Vicki Lewis: Oh my god. Well, we will of course talk about Wrinkle and your path to it, but I have to, of course, ask about um my sort of touchstone to what you do, which is Chicago musical. Because I have to be so honest. I did not even realize I had heard of you and known of you as Velma Kelly.

[10:00] Vicki Lewis: Sure.

[10:08] Jayke Workman: But I didn't make I didn't connect the dots until we were like in rehearsal, and I was like wait a second. That's Vicki Lewis. That's Velma Kelly.

[10:17] Vicki Lewis: Yeah. What I mean, like we had just have to back up to them. Like where? How did Chicago fit into your journey of being a performer and being an artist? Like you'd already done lots of TV.

[10:30] Vicki Lewis: Well, let me see. Oh, well, right before that, yes, I kind of got a lucky streak. Okay. Um, I did Damn Yankees on Broadway.

[10:35] Jayke Workman: Right.

[10:38] Vicki Lewis: Then Original.

[10:40] Jayke Workman: Yeah.

[10:40] Vicki Lewis: Original. That was cool.

[10:41] Jayke Workman: Yeah.

[10:41] Vicki Lewis: Now they're remaking it. That's how old I am. I'm here to see it again.

[10:45] Jayke Workman: And at Arena Stage.

[10:46] Vicki Lewis: Yes, it's so weird. And we have to talk about it. Also, aren't they doing Hadestown on Broadway again? Like, what has it been? Seven years? Like, do they bring things back that quickly now?

[10:53] Jayke Workman: We don't have to divert.

[10:54] Vicki Lewis: Well, Hadestown never closed.

[10:56] Jayke Workman: Oh, it's still running.

[10:57] Vicki Lewis: So I've got my finger on the pulse, darling. Okay, anyway, I see.

[11:02] Vicki Lewis: Um, so no, I was doing a lot of TV things, and so um I was doing a show called Three Sisters, and so they asked if I would come in, and I said, sure, my God. And I did my little audition, and then they picked me. And I was like, Oh, Vicky, you know, because like I I move very well, but I was like, Oh, what have you said yes to?

[11:24] Jayke Workman: Yeah.

[11:25] Vicki Lewis: And so Bebe Neuwirth is a friend of mine because we did Damn Yankees together. Right. So she was sort of trying to be, she was my cheerleader. It was very sweet. But I got in the room and then all of a sudden Anne Reinking came in. Sure. And she was like, Oh, I see like what your body does, and she which it doesn't do, you know what I mean? So she like re I see what you did. I just see you're very short, and you don't kick very high, but you're still very interesting. So she like reimagined it, which was like a dream come true. So I did it on the hiatuses for three months at a time from the TV show. So the first time I did it, I did it with Charlotte Dambois. And the second time I did it with Nana Visitor. Yes. And then we went to Vegas. Well, we yeah, we opened in Washington because I didn't want to open on Broadway. So we did Chicago and then Washington. Uh-huh. Then uh we did those two cities, and then we went to Vegas.

[12:16] Vicki Lewis: Oh my like people would sit in the it's warm, it's a hellscape, yeah, soulless, sad place, if you ask me. Yeah. I just ate it there. If you ask me. Like people at the slot machine wearing like an oxygen tank, spending their last social security dye. You know what I mean? Like it's heartbreaking.

[12:36] Vicki Lewis: And then we get in there and they started going like, take it off. No, because the ads are slinky-ish. It's Vegas. Yes. And we're I was like, what are they yelling? What are they yelling? And we were doing like a shortened version. So you would do like a seven and then a ten, so all you could do was have a martini in between for energy. I mean, yeah, it was it was bananas. But so yeah, I was with it, yeah, a while. Wow, on and off. And having a friend who also had originated that role, like having BB to be like BB came, she would give me notes. I was like, BB, I cannot be you ever. She's like, keep your knees closer together on the stool. It's like that's a good point. Yeah. That's a good point.

The skirt is a little short. Okay, but my favorite thing is the uh telecast from Rosie O'Donnell, the Rosie show where you guys got to do that jazz. Is Rosie a friend of yours? Yes. So you had already that that was like I was a waitress at Catch a Rising Star in New York, where all the comics would go. Okay, T. And so I met a lot of them there. Uh-huh. And then I became friendly with and they naturally just saw the glowing light that you are, and were like, Well, we are now friends. Or they thought she's really weird stalker, she's here a lot. Because, well, the first role that was written for me on television was written by my friend Marjorie Gross, who I knew through Rosie, who is a stand-up comic as well and a comic writer.

And so she wrote me a role on Seinfeld. So that's that was cool. Which was an amazing role. Ada, the secretary. Yes. Yes. That was fun. And then I did a secretary on Murphy Brown, and they had cast so many actresses. They the like secretaries had numbers, so I was Secretary 69. That's how many actresses had already been. And what an iconic number to have. That was mine. That was meant to be mine. Secretary 69. That's right, baby. I was the only actress left in LA who hadn't done it. It's just like when you see people do Law and Order, you're like, that's wow, they hadn't done it yet. That's amazing. I know. Can you I haven't done it? Have you done Law and Order? No, no. Okay, there's still home for us.

Yeah, exactly. We'll be a body in a bag. Anything's fine. The residuals are good. Yes. So even before well, I guess not before Chicago, but in sort of like a separate vein, you've had such uh I would call them like parallel careers because TV and film, yeah, uh while we do similar things, it's such a different world. And even just like the sort of like bi coastal life of it all, like living in LA, but also being a New Yorker and doing the uh you know eight shows a week on Broadway versus showing up to set and being there for hours and hours and hours and maybe being used for 30 minutes. Like can you talk about the difference? I mean, we have so many shows that we could talk about, but obviously like news radio and like being on like sitcoms, like what is the difference for you as a performer between doing stuff in LA, doing TV and doing the eight shows a week on Broadway?

[15:32] Vicki Lewis: Well, the the the sticking point for me is and news radio was an exceptional experience because we were like minded people, we had amazing writers, we were all we we were all he had the same sensibility, we were whackadoodle people, you know what I mean? Pretty dark, pretty funny, pretty you know what I mean, all of those things. But in terms of every other TV show, a lot of those television shows are toxic. Yeah, and when you go there, you know, like Gray's Anatomy, I was like, Oh, I'm on Gray's Anatomy. It was so awful because the cast is gets so unhappy. Or there's one person, Katherine Heigel, for example, who's not happy. Yes. Yes. And everybody's life, it just it trickles down from the top, and you just want to stay out of the line of fire and hide in your trailer.

It's not fun. Yeah. Um, for the most part, I like doing like sitcoms because there is an audience, so you can do there's a sense of timing. Yeah. But really at the end of the day, it's a lot of standing around and waiting. Particularly on a movie. Like on the movies, it's the worst. You get in at like four a.m. you put your makeup on, and then you sit for 19 hours trying not to mess up your makeup, and then you like lose your personality. Vicky, you're on set, you know. And because you're like number four, five, six, seven, or eight, your coverage is last. So you're just you look like Queen Elizabeth. Your makeup has they're like, Vicky go, you know, so you waited all that time, you're like, Wait, what's my line?

Oh, that was terrible. Okay, we're moving on. That's fantastic. Yeah. Um hardly any rehearsal, if any. Like, no time to actually be like, Well, what do you think about what I should do? It's like make a choice, and if it's the choice, yeah, it's on TV forever. It's true. Or uh in movies forever. Yeah. It's crazy. It's not it's not an easy thing, and I don't think it's a fun thing. Like it's not something I enjoy. Yeah. Even when I have a lead in a movie, um, which doesn't happen often and if it does, it's usually an independent film. I am so wrung out from the waiting. I'm waiting for something to happen. Like, do I sing? Do I get to tap a little? Do I get to make a joke? So I prefer the live theater. T. But the money. I mean, that's the thing. Because you have had such longevity in your career as a TV.

[17:42] Vicki Lewis: I I have performer. Until you get to be about 40, and seriously, and then you're invisible. Oh my god. You just all of a sudden, and I see it now because I'm older. So I'll see like my friends, and it's right in that 38 range, and then all of a sudden they disappear, and they're like, no one's calling me. It's like, yeah, we're not young, and we're too old, we're not old enough to be grandmas, we're too weird to be moms, we're too you know what I mean? And the industry is really cruel that way. You just become you feel invisible. Which is so crazy because and maybe I'm completely naive to it, but I feel like now we're seeing more and more uh characters written for mature women who are still sexual and still funny and still nuanced, yes, vibrant.

And that like I hope that the pendulum is swinging toward that, yeah, you know, more and more because obviously out even just outside of theater, they're these people exist, obviously. Yeah, I'm looking at one of the people. They're relatable, I think we're relatable. There's a million people that are over fifty, right? Sit in the couch and watch the uh the television. Yes, but like it becomes a thing where also because the well, the business model is broken, right? So Netflix the all the streaming, all the the bot the model has broken. Yes, it's too widespread. Um, like I give this as an example, but when I did Curbier Enthusiasm, I made $800. Oh my god. Okay. So the money is so just you know, back in the day when I was working, you made $50,000 grand an episode.

You made money. Yeah. You got huge residuals. It was probably I felt like dirty money, actually. It was too much money, right? What am I how who did I bamboozle last year? Yes, it feels weird. You know, I mean, when's the shoe gonna drop? And it does drop, but this business model doesn't allow for even like if you're on a network show, if you get an hour-long, you know, guest spot. It used to be top of show, 15,000. Nope. They divvy it out by day. Maybe you get 1,200, 300. And the residuals are so spread and the deal is so bad that you can't make a living doing it. I I don't think you can. Yeah. Um and that's why there were so many all the strikes that were going on and everything. And you know, people were people who weren't industry people were like, why is everyone so up in arms?

Why is it? I didn't understand. And then a lot of famous, really famous people came out and said, Here's what I made. I had a day job doing Orange is the New Black. I had you know what I mean. Like this is what we're making now, with the exception of, you know, if you do get a recurring or a guest spot, you will be working with Nicole Kidman. She's on every freaking show. What is up with that? Running joke more she like. What is that? How did she have enough weeks in the year? I don't know. She's on every single one. Every show, every movie, every guest spot. She's used every wig in Hollywood. And they're all bad. They're all bad. She's got the money. Why get a good wig, my lady? Why do I? It's so and I hate to be mean spirited.

I like to like for people to win, but I'm like, Nicole. Nicole. Come on. Speak up. Do you have friends around you that say no ever? That's the problem. You get to a place in your life and they're all yeses. Nobody goes. The big little eyes wig, I lived. Yes. She looks great. That was the big the end of the good ones. I feel the beginning of the end. Yes. So but anyway, I forget what you asked me, so sorry.

[21:04] Jayke Workman: No, no. It's I'm just so fascinated because it really is. I mean, to your point, there everybody jokes about how TV makes you rich or film makes you rich and theater makes you good. Yes. Yes. And yes. While those things are true, it's disappointing because theater for me is what I love. I've never even done I mean I've been on TV sets and everything, but not I've not been in front of the camera. And so for me, if that opportunity came along, sure. Because again, the paycheck. Even if I'm on set for twelve hours and you're making whatever, 10 grand, sure. Yes. But it for me, having the arc every single night. Oh yeah. Not shooting, you know, two seasons simultaneously where I'm like, who am I? Whatever.

I just did a scene yesterday where I was shot and now I'm playing the 13-year-old version of myself. Like, what is that? Like, how do you navigate that? Like or do you find a difference in like telling a story, you know, from beginning to end every single night in a musical?

[22:08] Vicki Lewis: I mean, I I like the acting, um I like the the arc for sure. And if it's not an arc, I at least need the writing to be really great. So there's like jokes that are good or interesting writing. Um the last good writing I had was on blacklist. They have good writers over there. Yeah. But for the most part, it's like you're the new kid at school, your character isn't flushed out. You're you're it's not for me, yeah. I I agree. I agree. But and now the money isn't that good. You know, unless you're lucky enough to get on something that clicks and then the whole cast goes, pay us, pay us, and then they have to pay you. Right. Um, yeah. When you're on Friends and you're like, I would like a million dollars an episode.

I was on Seinfeld when they got their um syndication check. Wow. And I caught a look because Jerry Seinfeld was standing near me, and I think it said fifty nine million. Wow. I think that's what it said. I was look I was sneaking a look. Of course. How could you not? Yeah, yeah. Jerry, look over there. Jerry. He's like a Labrador puppy. Go chase your treat, Gary. He's so sweet, but he's like, you know, uh what's his series that he does the like driving in cars with coffee with that one? You should do that. That's who he is. I'll let my podcast to that one. You're like my mother used to go, like, Vicky, why don't you do the Jay Leno? Oh, I'm never thought of that, Mom. Let me give him a call. Yes. Let me just shoot him a text.

[23:37] Vicki Lewis: Yeah. Also, like I got lucky because when I was on TV, uh when you're you know, when you're working a lot, you work a lot. It's a thing. Of course. When you're not, you're not. Of course. So then they would bring me in for animated things. Yes. And I had never done animation, so I went in to read for a thing called a bug's life. I don't know if you remember. Are you absolutely kidding me? I know. So me. My favorite. Well, I didn't get it. Dave Foley did, as you know. Sure. Me and Dave and Andy went in to read it, and I didn't hear anything, and then Dave got it, and I was really happy. And then like years later, I got a phone call. You've been cast in Finding Nemo, and I was like, but I didn't even audition.

They saved my voice for that. From the Bugs Life because they liked it and they waited until it fit something, which was crazy. Wow. But I went into Pixar. I was there for like four hours. They flew me up to San Francisco. I did it alone. And when we got the check, it was $189,000. Wow. That's when things all paid big money. Yeah. And then the residuals I still get. Yes. I'm not trying to be like money, money, money. No, no. But like I I love the candor though, because people people shy away from it, and I don't know. No, it's what it is. Yeah. Money and also knowledge is power. Like people need to know. Yes. Um and you think about it too. I mean, if I were handed a check for $189,000, I think I would shit my pants. Yeah. But also, then compared to now, I mean, with inflation and whatever. Yeah. But like, you think about like the the relativity of that, you know, check to what Disney and Pixar are now.

[25:11] Vicki Lewis: Nothing.

[25:12] Jayke Workman: Jump change.

[25:13] Vicki Lewis: It is. It's nothing for them.

[25:14] Jayke Workman: But it can make or break someone.

[25:15] Vicki Lewis: But it can make a little person.

[25:17] Jayke Workman: For four hours in an ADR studio.

[25:19] Vicki Lewis: I never even met Ellen. I'm not kidding. I was like, what's it work like to work with Ellen? I'm like, I wouldn't know. I saw her on the red carpet, but she seemed like she was in a bad mood. But I don't know.

[25:30] Jayke Workman: So you did Finding Nemo, and then when they did the sequel, you also got to do Finding Dory.

[25:34] Vicki Lewis: Yeah. That's amazing.

[25:35] Jayke Workman: Yeah. Was it fun?

[25:36] Vicki Lewis: Yeah. Like when you're alone in a studio, is that weird?

[25:39] Jayke Workman: It's only weird if your director's not good and he was amazing.

[25:43] Vicki Lewis: Andrew. Yeah, no. And then they show you around like those creators at Pixar. Their little cubicles are magical. Like they decorate their own. And then they take you into the big like movie thing and you watch your fish and then they put your voice in.

[25:56] Jayke Workman: Oh no, it's amazing.

[25:57] Vicki Lewis: That's incredible. So yeah, before you recorded audio, it had scene when you're drawing, but then they put your facial movements into the god. It was dreamy. That job was dreamy. Every voiceover job is kind of dreamy because you're in there for an hour acting stupid.

[26:13] Jayke Workman: Right.

[26:13] Vicki Lewis: And then you leave your pajamas.

[26:15] Jayke Workman: Yeah.

[26:15] Vicki Lewis: And you leave. And now, like, even still, you get like eight ninety-eight or something a day to do a voiceover.

[26:22] Jayke Workman: Right.

[26:22] Vicki Lewis: Of course I don't do them anymore because I'm not on a TV show. I'm not on the click. No, you have to be. Every now and then a director who knows me will pull me in and they'll be like, You're Billy, he's three. Okay, you know, it's like but I don't do as many as I once did.

[26:36] Jayke Workman: Yeah.

[26:36] Vicki Lewis: Um do you miss it?

[26:38] Jayke Workman: No, it's weird.

[26:39] Vicki Lewis: Is it the only things I miss are singing and dancing in theater?

[26:43] Jayke Workman: And look at you now.

[26:44] Vicki Lewis: That's all that's why I keep an apartment. I keep an apartment the size of a postage jump in New York for this reason. Yes. And my agent knows that. I will do theater whenever they ask me, basically. I rarely say no to a theater job.

[26:55] Jayke Workman: Which is so amazing. And I think it's not only a testament to your artistry, but just who you are as a person, and it reflects in everything you do. And I hope you know that because everyone in our cast and crew just love you and have such wonderful things to say about you because you could it's very easy to teeter into that world of I couldn't possibly do that. The check is far too small. And I love that even though you have had all of these, you know, incredible experiences, you still have to do that.

[27:32] Vicki Lewis: No, that's what gives me life. Well, it gives me life. I just love it. I love it so much. I love the people, I love the process, even when it's a bit wonky. I just I love it because it's unknown.

[27:43] Jayke Workman: Yes, creating things.

[27:44] Vicki Lewis: Yes. So tell me about creating something like Gloria in Damn Yankees.

[27:50] Jayke Workman: I got that was yes.

[27:52] Vicki Lewis: So I was what was I oh I had done so I got my first job in LA was a movie called I'll Do Anything, and it was a musical. James Brooks was directing. I'll do anything. No, literally, but they had like Julie Kavner, Nick Nolte, all these people singing.

[28:11] Jayke Workman: Yeah.

[28:12] Vicki Lewis: And so anyway, it was such a disaster. Twilight Tharp was choreographing. They were fine. Nobody's gonna go. Oh my god, say no more. Right? Hello. And so, hello, Twila, come on. And so I was out there, I ended up being out there nine months for us, like a third and dairy role. Like I played the casting director. It was she had no lines. But I was doing that film, and it I had never done film, and I was, even though they weren't singing well, I was watching these really amazing actors work. And I learned so much because in my younger days, going into auditions, I didn't trust myself.

[28:50] Jayke Workman: Rarely we do.

[28:50] Vicki Lewis: Right. And I was over singing, overdoing everything. I'm trying so hard to get a job. And then I realized, oh no, no, no, you just need to listen. Right? Chill, chill out. And listen, and Ann H was in the movie, and we actually lived together right after that.

[29:05] Jayke Workman: Oh my god.

[29:06] Vicki Lewis: And so she was getting all these like, oh, but Chino sent me flowers because I didn't get Carlito's way. And I was like, that's great. You know, and so finally I was watching her, and I go, Can you help me? I'm not doing well. I don't know what to do in the room. She goes, I'm so glad you asked me. So she's never would have chimed in, but now that's it. But thank you for the ask. So she said, What are you wearing? I was like, because I would wear like Laura Ashley dresses with a zany bow, and she goes, No, no, no. She goes, How much money do you have? I was like, three dollars. She goes, it doesn't matter. Yeah. So she took me and she bought me like a white suit, a beige, a really cool Armani suit.

And she goes, think like Ellen Barkin. Think you are sexy. You are enough. You're funny, but let the funny be part of like you looking great. And so then I was like, so then she worked on me. This is so long, but I'll try to make it shorter. On my scene for Murphy Brown. And so I would say something, she would go, What? Because I started, I'd be like, Well, I hadn't remembered. She goes, What? Well, I couldn't remember because there were so many what uh-huh, there were so many pencils on the table. I could she goes there, that's all you have to do. Well, I booked that job, and I will forever be beholden from watching them and figuring out it's enough to just do you know what I mean?

[30:14] Jayke Workman: Yes, she helped me enormously. I'm I will always be grateful. I know she had a tough life and it breaks my heart how it ended, but wow, she took the time to show me how to act on camera.

[30:25] Vicki Lewis: Well, and I think that is truly a huge curse that BFA programs and you know theatrical college experiences do not address not nearly as much because of the fact that it you know, not that it all comes back to money, but if you want to consistently work, yeah.

[30:46] Jayke Workman: Even in New York where you're getting on, you know, guest spots and whatever on these shows that shoot in New York, yeah.

[30:52] Vicki Lewis: These theater people don't know. I say as if I've done it, but like no theater actors it's true often get pumped out of a BFA program and they go on Elsbeth or whatever for two episodes, yes, and they have no idea what they're doing.

[31:04] Jayke Workman: No, they don't know spike mark, they don't know like we don't teach them the basic things.

[31:08] Vicki Lewis: I wasn't taught it at all. Coverage camera angles, yes. How do you look on camera? Okay, well, here's a good angle. What's here's how to better do your makeup. Here's like it it's it's unfortunate, and especially in the day of like we self-tape everything, of course. There should be some instruction on all of that stuff.

[31:26] Jayke Workman: I agree. Absolutely.

[31:27] Vicki Lewis: And yeah, and then vice versa, when you get film actors who have never done a play. Now that doesn't translate always, does it?

[31:36] Jayke Workman: Crazy.

[31:37] Vicki Lewis: Because they don't use the energy. They don't fill the space.

[31:41] Jayke Workman: Yes.

[31:41] Vicki Lewis: They use, I mean, it was a good analogy given to me. For television, the forehead is the proscenium. Work. Isn't that good? And in theater you have to reach out. And a lot of them don't have that naturally.

[31:55] Jayke Workman: And so they they get in they get swallowed up by it on stage.

[31:59] Vicki Lewis: Yeah, yeah, yeah. And also we know you have 20 million dollars just in your change purse could you step aside and let one of the theater actors and that's what I was gonna say and it's all in my book separate checks. So like when everything filters down the work is running out right the everything there's m not as much work as there once was so the film actors take the television roles. The television people come down to stage the film people come down to stage and the actual Dre horse, every man, fantastic theater actor is out of work.

[32:30] Jayke Workman: Absolutely yeah.

[32:31] Vicki Lewis: And it's cyclical it ebbs and flows. There are times when you know you get I don't know an amazing actress like Amber Gray to do an original show. Shami Gray But you you know then it's she originates this role. Yeah. She not that she was nobody obviously but she isn't Patty Le not even Patty LePone. I'm no like George Clooney. There you go. Hello and you know then all of her replacements are who can we sell that's the show with that's right. It's so interesting.

[33:01] Jayke Workman: Yes. Do you I mean I guess in in thinking of things like wrinkle are there things that come across your desk that you are more drawn to than others? Like what what do you look for maybe in a role in the theater or a show or a score? Like, are there things that you're particularly inspired by?

[33:17] Vicki Lewis: Well, a new work always. Yes. Do you know what I mean? An original work. Totally. Um I've it's funny, a couple of years ago, I got burnt out on doing what I was being cast to do, even though I was loving it. Like I can't do another Hello Dolly, I can't do another gypsy, I can't do another. You know what I mean? And my friend, um, maybe you know him. He runs the Rev. Do you know him?

[33:37] Jayke Workman: Oh, we talked about this.

[33:40] Vicki Lewis: You don't. Oh, yes. I think I've met him one time.

[33:42] Jayke Workman: Okay.

[33:43] Vicki Lewis: Anyway, no, I'm forgetting his name. See what happens to me. Anyways, he said, Do you want my opinion? I was like, Yes. He said, Stop doing musicals. And I was like, Really? He's like, just stop for a while. And I did, and then I was offered master class. Yes. And I did it with two really very different and very great directors. As Maria. Yes. Yeah. Yes. And it was the most inspiring thing I had done in a long, long time. So I'm looking for plays as well, like August Osage or I'd like to dig into the plays now. Right.

[34:19] Jayke Workman: So that's sort of what I'm looking for. This one came along. I had worked with Diana. Um, actually Amber and I did a lab of Stu for Silverton. Oh. Did you know about that piece?

[34:29] Vicki Lewis: I don't think I do.

[34:30] Jayke Workman: Stu for Silverton.

[34:31] Vicki Lewis: Stu was the first trans mayor of Silverton, Oregon. Cool. And it was a really cool trans piece. Like I loved it. Amber and I were in it. But so then this direct this producer Diana already knew me. And I think that's how the invite happened. I'm just guessing.

[34:49] Jayke Workman: Um yeah. Yeah.

[34:52] Vicki Lewis: That's amazing. It's such a funny how things weave in and out. You're going back to Chicago. I'll have to come and see it.

[35:00] Jayke Workman: Yeah. Tell me when you're on. I would love that. I haven't been back in that theater since I worked there. It's been, God, is it not? Wait, is it 20 years? 20 years.

[35:08] Vicki Lewis: Yeah.

[35:11] Jayke Workman: But how amazing that there is like legacy like that. Like you think of, or I guess I think of you know being part of something like a TV show or a movie or whatever, which is it lives forever because it was captured. But something like this, where you get to revisit and you know, people do it differently, and you get to see new people inhabit that that show. But there are also people who have actually been there.

[35:35] Vicki Lewis: I hit a wall sometimes. Like I was doing Anastasia and I was like, Yes. Like it becomes like I'm working at the factory, which you just do that. But at that like nine month mark, I was like, oh buddy, come on. Let's go, you know?

[35:50] Jayke Workman: Yes.

[35:50] Vicki Lewis: And yet you're grateful.

[35:52] Jayke Workman: Well, exactly. I mean, any work is good work. I guess.

[35:55] Vicki Lewis: I guess. Some of them not so much. I want to come back as Mama Morton. That's what I want to do.

[36:01] Jayke Workman: You heard it here on the pod, bitch. Make it happen, people.

[36:08] Vicki Lewis: Back, Vicky. Love that.

[36:10] Jayke Workman: Um, okay, so I have two other like do it questions that I was excited to ask you. One is, of course, about your lovely partner, Philip.

[36:19] Vicki Lewis: Yes.

[36:20] Jayke Workman: I want to know how you met, how you came together, and also how your careers sort of work in tandem, if they do or if they don't, and and what it means to be two working artists. Because I know a lot of people in your position or a similar position have a partner who has nothing to do with that.

[36:38] Vicki Lewis: Which that can be good too.

[36:39] Jayke Workman: Yes, yes.

[36:40] Vicki Lewis: But they don't really I needed yeah. So we met, I was actually um I had been in a really bad relationship. So I was alone for maybe four or five years. And then uh I went to work at this theater in LA. It's the it's on course, but it's in LA. Do you remember that?

[36:57] Jayke Workman: Oh yeah.

[36:58] Vicki Lewis: Anyway, yeah, and so he and his friend were the sound designers, and I started dating his friend. Now here's the difference. I used to go for like if a homeless guy, like I turn my head, I still turn my head, I'm like, ooh, is that sexy? It's weird. Like, yeah, like a marber, a smoker, a my a motorcycle, a lot of tattoos. Used to just like my head would go, whoop, right? And so Bones was his friend. You can just imagine the whole thing. The tattoos and Phil would be like, I you know, I really like him. He's my best friend. I don't know if he's got the tools that you're gonna want because you're really vulnerable right now. Wow. And so then he broke my heart, like literally, I was so vulnerable. So I would be at my house, and Phil would call, and he'd be like, I'm just checking on you, and I'm like, Thank you.

[37:45] Vicki Lewis: Then he would bring me dinner. Then, because I wasn't coming out of the house, I was like in that state, right? And then he goes, What if I was just to come in and like we'll just watch a movie on the couch, just even half of a movie, so you're not alone. And like he just kept being such a good friend. And all of a sudden I went, Wait a minute. Yeah, like you're the good guy. Oh, I get it. You know what I mean? And like he would like he listens. I know it's just basic skills, right? No, but for like it's the bar was so low, and he always says like the bar was so low, but like he would remember something. I was like, You listened, do you remember that? And he's like, Well, yeah, I'm listening.

You know, he went out of town for my birthday, and there was a whole like little treasure hunt that he built at my house for the gifts. And I was like, and so we started to be together, and that was almost 20 years ago. Wow. And he's a sound designer, so it's not like we're going on auditions. Do you know what I mean? Yeah. And now he's a professor, he's been a professor at USC for a long time. And then we created the voiceover program at USC together. So we would sit there like the lunts, you know. Yeah. And he would teach people how to do their reel and all the technical stuff, and I would coach the voiceover, the animation. And then they would have a reel at the end of the day. And still that program at USC has a waiting list.

Like it's a really popular program because you can actually use it. It's one of those things that you can use. Right. But we do really well together. We he makes me laugh, which is my number one. Oh, absolutely. If you if I'm not laughing. We're not doing it. No. And yeah, it's been lovely. It's so it's it caught me by surprise. You know, which I guess is what they say happens. Totally. When you're not, yeah. But how special. And how like how long it's been. That's the he's so good to me. He's such a good he's such a good man. I feel really lucky.

[39:31] Jayke Workman: Deservedly so. Thank you, my love. Well, I also want to know because of your track record and history in LA and New York. You've kind of worked with people who run the gamut of stardom and not so stardom and infamy and all of it. Are you ever uh starstruck by people that you get to work with? Does that happen to you anymore? Did it happen at one point in your career and now it's old hat for you?

[40:02] Vicki Lewis: Like it's hard for me to get a little I mainly get starstruck by talent, right? I get talent crushes. So um when I did Blacklist, he's he was a little intimidating. Sure. Because he's so smart, yes, and so good. Um, and he was throwing lines at me in the scene to add to my character that were not easy lines off the fly. Right. So I felt challenged and I'm forgetting his name. What's his name? He's the on the head of the black the head of the black list. He's the lead on the blacklist. Um, there was the Catherine Heigel moment, you know, that was not good. I mean, Nick Nolte was James Spader. Yeah, James Spader. Nick Nolte was a a you know, a force to um work with, and then we lived together for ten years, as everybody probably knows at this point. Wild.

[40:56] Jayke Workman: Um but before you had met him, yeah, or people like him, it was the sort of air of celebrity. Like, was that something that was there for you? Or like I c I just would imagine that if you kind of are in it from the ground.

[41:11] Vicki Lewis: It doesn't really faze me. Yeah. It's I just you see them everywhere in LA. Do you know what I mean? Like, oh, there's Sharon Stone. It doesn't really get me, no. I can't I'm trying to think of one. I'm sure there are some. Clint Eastwood was one. I was at a dinner party, and it was Clint Eastwood, Sean Penn, Nick. We were at the Xanax house, those producers, and Oliver Stone. And those two walked in and I was a little uh you know what I mean? Well, yeah. Because like that's on a completely other level. Level. Yeah. But I did I wasn't comfortable at the table. I remember going into the kitchen and just talking to the chef. Hanging out in the kitchen. I was like, this is boring. You're talking about yourself. That's far more exciting than what's happening at the table.

[41:56] Jayke Workman: Yeah. That's so weird. Wow.

[42:00] Vicki Lewis: Well, I just adore you. I love you, Jake. I'm glad our paths crossed. When I first even well, because we are maybe you did. I didn't get the cast list for this. I think who was coming out. I didn't get it at all. I said yes, and I was like, I'll be there on the first day and we'll see who's there. Did you and you didn't do any of the workshops?

[42:21] Jayke Workman: I did.

[42:22] Vicki Lewis: You did. Okay, because I asked for the music. No, we're not giving that out. And then I got there and I was like, what the hell? Yeah, what are we doing? This is more music than I've sang in a lifetime. 512. Oh my gosh, darling. The best music, Heather Christian. Oh my god. Brilliant. And it's so fun because I've had the immense pleasure of getting to see the show go from literally a reading where we didn't even have act two music written. Heather hadn't written it yet. So it was still like proof of concept, you know. It was like we're reading lyrics and like imagining what it might sound like one day. And so to hear it now is so Oh, I bet. Plus your voice, you are such a singular fucking talent. That's voice. The minute you opened your mouth on day one, I was like, what's happening? Oh my god. People are like, are you a boy or girl? Oh, you're a boy girl. Your voice. Oh my god. No, it is. Have you ever done like an album?

[43:18] Vicki Lewis: I've uh solo one. Okay. I did. In college, I two of my dear dear friends Emily and Olivia. We did um a jazz Christmas album. Wow, Christmas album. Called Our Christmas Album. Original. The reason why. Why did you do it? Was because uh we didn't have any money. Oh, and those are all free. You can put those out into the world and no one can copyright and free. I'm guilty of that. I have like a couple Christmas singles that we my husband and I did because he's such a great mixer, and so he makes them sound like I'm with an orchestra. But I'm just in a booth like jingle boom. Yeah. Oh my God. Yeah.

[44:02] Vicki Lewis: So we were like, what can we do? And of course, also we were arranging things by ourselves. But it's expensive. It's expensive. That's the thing. We had amazing. Well, we were lucky enough to go to a college that is predominantly a music school. So there's a BFA program for theater, but we were surrounded by sound engineers and instrumentalists and you know arrangers and composers. So we had tools and everything. We just didn't have the original IP. So we were like, we'll just take these things that are public domain, have these fabulous musicians play with us, and we'll sing these songs and do these arrangements. And then we can put it on the internet for free because no one can say that's not yours. Also, you won't make a dime.

[44:46] Jayke Workman: Exactly.

[44:47] Vicki Lewis: Seriously, like the musicians are getting scared these days. Oh my god, I can't.

[44:50] Jayke Workman: So bad, right?

[44:53] Vicki Lewis: Yeah. But I want you to do like, I don't know, other songs. Another type of love. There's tons of songs that are in the public domain that are really cool.

[45:01] Jayke Workman: Oh, for sure.

[45:02] Vicki Lewis: And I definitely, I mean, not that Christmas songs aren't cool. Yeah. They're just, you know, um famously seasonal. They're just a little, yeah, seasonal, that's a good word. Yeah, yeah, yeah. Um, I do have uh hope uh to do my own solo show. Yes, a solo show. Yeah, that I want to record. So my darling friend Colin Kirth um is gonna help me with I mean we've already started like mapping it out and everything. You've heard it here on the pod. Now the jig is up. Come on, you guys. Um but yeah. That'll be Mama Morton and he's doing a one man show. Yes. Oh god. So we'll be in it. Yes, that's what I was gonna say. Let me be in it. Yay! Come on. Let's sing a duet. What should we sing? Should we do Bozom Buddies?

Yes. Okay, fabulous. How about happy days? No. Fabulous. Okay. Let's do it. Happy day. Yeah. What I would give. We have to do it. Let's do at least like I you'll have guests each week. Oh, okay. I'm gonna have a long running solo show. I was. Okay. But if not, we'll do that one night and we'll see it. One night on it. I like those people who push the belt.

[46:14] Jayke Workman: What is that sound?

[46:16] Vicki Lewis: Screaming.

[46:17] Jayke Workman: Oh, yes, that's right. That's screaming. Sorry for our listeners. Famously, that is screaming. Not singing, it's screaming. It is also what everyone has come to expect on a Broadway stage, which is a little confusing. And it's not sustainable. No. No. Certainly not. No. Especially when we're taking um the world's worst pop music and shoving it into a Broadway show. It's really sad. It's sadness. And I want to be in them is the thing. Yeah, of course. Because I want the job and the notoriety and the paycheck, and I love singing. Yeah. But my God, these shows that won't be named, I guess. They are ridiculous. Those girls that have done wicked can tell you. Oh my God. They have been torn together. Ruins their chords a lot of them. Yes. And their psyche. Apparently it's mean over there or something. It's a machine. Oh gosh. 20 plus years? Yeah. Wild. No, not good. But anyway. Wait. Have you ever been in for Madame Morable?

[47:14] Vicki Lewis: Okay, yes. Can I tell you? Please. I went in for Madame Marble, like the tour. It's like, how many Madame Marbles have there been? 97. Yes. And I was doing between the lines at the time, and so I was running late. They had me in there an hour and a half, laughing, clapping, and then Dan calls and he's like, You're a star. I love you. You're probably gonna be doing it. And then I don't hear anything. I don't hear anything. And then they tell my agent, we think she's so brilliant. She doesn't really fit in the wicked world. How does that mean? What does that mean? The costume wouldn't fit. Right. What is it? I'm too short. I don't think so. I don't know what like I was literally like, what other who's left? Right. Who's old can sing and stand up? Yes. And be funny. Literally, I was like, I was so insulted. I don't get insulted, but I was like, who's a what is happening? No, I'm not apparently of their world.

[48:02] Jayke Workman: Okay, well, we this will cause mutiny and we will be.

[48:05] Vicki Lewis: Let's have a mutiny. I love a good mutiny. We're on strike. And also I was running late to the show, and they're like, no, could you just one more time? And then what I felt is like, oh my God. How much money should I ask for? Yeah. You know what I mean? So embarrassing.

[48:18] Jayke Workman: No, not embarrassing when they lead you a stray like that. I would honestly rather in a r in an audition setting have them just point like point blank be like, Thank you so much for your time and your work. It's not gonna be you. Yeah. Please. Okay. Please. Great. Yes. I can m move on with my day and not call my mom and be like, I think I may have gotten it. Yeah. I'll just call my mom and be like, I didn't fucking get it. Yeah. How's that? Yeah. Or if you had my mom, it would be like, why? What's wrong? What happened? So I just stopped telling her. Yeah, of course. Until you're on a couple of things. Yeah. But then when you're on, yes, because when I would do theater, they'd be like, is that gonna be on TV? Like, no, mom, it's a theater show. It's called Broadway. Oh my lord. No, apparently it doesn't. It's meaningless. Because you can't talk to your friends in Ohio. Exactly. And go, look over there. Yeah. Look at this. It's meaningless. Yeah.

[49:04] Vicki Lewis: When I did first get to New York, I wanted to be in cats. I wanted to be Rumpel teaser. And I went to the um audition. I got I got eliminated in the line. Anyways. Work. So typed out. I didn't have an equity card or anything. So, anyways, I had a dream that I was in, I got put into cats, and I started telling everybody. I'm not kidding. For like a half a day. I was like, and then they had me tapping, and then all of a sudden I'd be like, I'm not hearing anything. Like it was so embarrassing. You're like, I booked it. I but for like, wait a minute. Wait. No one's calling me.

[49:40] Jayke Workman: Well, Vicki, I just adore you. Thank you so much so much for coming on the phone. Four hours at Ring Musical. Wrinkle. So we wrinkle. And so we wrinkle. We do. T. T. Jake. You guys, that's it for another episode of Oh My Pod, you guys. Don't forget to rate, review, and subscribe anywhere you listen to the pod. And you can follow the show on Instagram at oh mypod, you guys. Thank you so so so much for listening. Talk soon. Bye. Oh my god. Oh my god, you guys.